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Scan 308
Old Violins And Their Makers, 1883
4 lines. Read by computer on 27 September 2026. Printed page 294. See the scan on archive.org.
1been exposed to the light, are factors which must be taken into account in deciding how much of it to employ. It should, therefore, always be used tentatively and in moderation, especially as sandal wood appears to contain an acid, which Spanish white, an alkali, neutralises, the colour changing to a deep rose, no longer oxidising in the air, and becoming very fugitive; and as annatto, in sufficient quantity, produces the same effects, its too free use might completely destroy the stability of the sandal wood colour. The resinous colouring matters are the most enduring. Brazil wood, Pernambuco wood, logwood, and others yield very fugitive tints, are non-resinous, and not soluble in the essential oils. Others precipitate their colours in these oils, with or without the aid of alcohol, and are, for the most part, very fugitive. Almost all the colours extracted from roots refuse to mix with the essences. One of these, Anchusa tinctoria — the alkanet of dyers—mixes very well in the essential oils, without the aid of alcohol, but it is extremely fleeting.
3Although it might be interesting to follow in detail the various experiments which have been made with resins in forming a varnish with the coloured essences, such a course would—the bulk of the experiments having been unsuccessful—only indicate formulas to be avoided. The same end will be attained by describing that which yielded most satisfactory results, and to it I will therefore confine myself. The resins employed in varnishes may be divided into two classes—viz., hard and soft, and the latter again into dry and supple. Amber, copal, and gumlac are hard; sandarach, mastic, dammar, benzoin, elemi, anime, and the turpentine are
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